Find classical music concert, opera, ballet and dance reviews | Der fliegende Holländer (The Flying Dutchman)

With a glinting voice of a youthful sheen, like bracing Nordic air, Kirstin Sharpin was entirely convincing as the obsessed dreamer, Senta.

The battle of the choirs is a thrilling moment in just about any performance of Dutchman, but produces shock and awe in the live acoustics of Budapest's Bartok Bela Concert Hall.

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

Darmstadt's Flying Dutchman was a gripping Romantic ghost story with a stong Senta in Astrid Weber. 

Iain Paterson's house debut as the Holländer was sufficient reason to drop anchor in the Main for this revival of David Bösch's 2015 production. 

Philipp Stölzl's production of Der fliegende Holländer, which places the action within a giant frame in a library, arrives at The Liceu.

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

Yannick Nézet-Séguin led an intriguing performance of Wagner's Flying Dutchman at the Met with a superb orchestra and an excellent ensemble of singers. 

Christopher Alden's risk-taking, Expressionist-tinged production of the early Wagner breakthrough is provocative in all the right ways.

A disconcerting production of The Flying Dutchman where the staging misses the boat.

Daisy Evans' dystopian, immersive Dutchman for Fulham Opera may be tough medicine – but, with such glorious singing on offer, it's an unmissable chance to step into Wagner's soundworld. 

In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.

An updated but otherwise traditional Flying Dutchman directed by Jan Philipp Gloger offers plenty of enjoyment at Bayreuth, although it might not linger in the memory as long as the more controversial fare at the Festival

Der fliegende Holländer at Leeds Town Hall shows Opera North at its most exciting, in a production conducted by Richard Farnes, with Béla Perencz and Alwyn Mellor.

In 2015, The Flying Dutchman is on the roster at the Wagner in Budapest festival. A fine cast and an inventive orchestra under the baton of Adam Fischer are matched with a debatable staging by Balázs Kovalik

A pleasing performance from WNO of The Flying Dutchman, with Eric Owens brooding magnificently over the whole. 

Wagner’s Flying Dutchman with high calibre singing, a magnificent orchestra and innovative 3D effects gets a short yet successful season in Melbourne.

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

Christian Thielemann and his orchestra were the stars of an excellent performance of Wagner's Der fliegende Holländer. 

Hungary is a landlocked country. In fact, Budapest is an awfully long way from the sea in all directions. So it’s not the first place you’d expect to come for a production of Wagner’sFlying Dutchman that is gloriously redolent of the sea, both in staging and in the orchestral performance. But that’s what we got last night at the Hungarian State Opera.

It is interesting that neither of the 200th anniversaries of Verdi and Wagner have received much attention in Oslo, especially when compared to the frenzy that has been dominating so many concert halls and opera houses all over the world. What is even more interesting is that it has only been the Oslo Philharmonic that has paid any kind of attention to the two composers.

What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.

Wagner’s The Flying Dutchman is a tale not only about redemption through love, but also about the helpless plight of human beings in the face of wilful and vindictive supernatural forces. In the hands of Wagner, the mythical Dutchman, instead of being a collector of itinerant souls at sea, has become an intrepid adventurer condemned to eternal maritime wandering.

The sole complete opera contribution to Wagner’s anniversary in Auckland this year came in the form of New Zealand Opera’s production of Der fliegende Holländer.

If an evocative and provocative crowd-pleaser is your preferred summertime fare, then catch the new production of Wagner’s The Flying Dutchman at Glimmerglass Festival. Dutchman was Wagner’s first unabashed hit, deservedly so.

In Harry Fehr’s much-anticipated new production of The Flying Dutchman for Scottish Opera, the setting is in Scotland – as Wagner had originally intended before a last-minute switch to Norway during rehearsals for the first production in 1843.

Andris Nelsons followed up his 2012 Tristan und Isolde with a stirring performance of Wagner’s breakthrough work, Der fliegende Holländer, with a fine array of soloists and the CBSO in Birmingham. At a little over two hours, The Flying Dutchman is one of Wagner’s shorter operas, but it shares its supernatural themes with many of his other works.

While the term “Eurotrash” gets thrown around more often than it should, it is one that has unfortunately become synonymous with many of the Wagner opera productions that take a non-traditional approach. As opera-goers go, I tend to sympathize with the directors and find that this approach can work fantastically well in bringing Wagner’s logistically impossible scenarios to life.

Opera being a strongly visual art form as well as a musical one, the idea of a pure concert performance seems a little strange to those unfamiliar with the form.

Opera houses around the globe are clamoring to celebrate the much-anticipated 200th year since Richard Wagner’s birth, and tonight the Opéra de Montréal offered the composer’s first real theatrical triumph, Der Fliegende Holländer, to an eager audience.

For any opera lover, a first visit to Bayreuth is something of a pilgrimage to the holy land. Musically, I wasn’t disappointed, as the Dutchman’s leitmotif rose softly from the invisible orchestra, soon to be enveloped by the swirling storm brewed up by Wagner and conductor Christian Thielemann.

Of the various possible ways of conducting Wagner's Flying Dutchman, ENO's Edward Gardner took the direct approach. From the first tremolo string notes, the orchestra launched into the main leitmotif at full tilt, followed by the sound of stormy seas swirling more furiously than you've ever heard them, leaving the audience breathless.

As The Flying Dutchman nears its close, the crew of Daland's ship are celebrating their safe homecoming and yelling at the Dutchman's unseen crew to join them. To their horror, they realise that they have indeed woken the dead: the Dutchman's crew are ghosts who have wandered the oceans for centuries: the storms cannot burst their sails for they are protected by Satan.

Die Münchner Philharmoniker brachten Wagners Fliegenden Holländer – gegen alle Widrigkeitenin – erfolgreich zur Aufführung.

Oksana Lyniv se estrena en la dirección de la ópera wagneriana y ofrece una lectura solvente de Un holandés errante de resultados desiguales, tanto en la escena, como en las voces, de entre las que Dohmen fue de lo mejor de la noche.

La Fura ofrece en este Holandés un espectáculo mayúsculo, de una superficialidad inteligente, acompañado por un elenco solvente y un foso con escaso sentido narrativo. 

Diana Damrau a fait vibrer l'Opéra de Marseille lors d'un récital qui restera dans les anales de l'institution marseillaise. 

Renaissance trifft Moderne, trifft Industriezeitalter. Der Münchner Holländer hat schrille Kontraste zu bieten, bevor er schließlich mit krachender Pyrotechnik endet.

El Holandés errante sirve a la OCNE para desplegar todo su poderío sonoro en una noche en la que la Senta de Ricarda Merbeth robó el protagonismo a un desigual Terfel.

Wenn sich Marc Minkowski und Olivier Py den Fliegenden Holländer vornehmen, ist der Teufel los.

Le Vaisseau fantôme démonté sur les quais du Rhône dans la nouvelle production de la compagnie barcelonaise Fura dels Baus : une scénographie qui marque les esprits.